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DIIV & Omni @ Lodge Room Highland Park

December 16, 2019 7:00 pm - December 17, 2019 6:00 am

DIIV

Rebirth takes place when everything falls apart. DIIV—Zachary Cole Smith , Andrew Bailey , Colin Caulfield , and Ben Newman —craft the soundtrack to personal resurrection under the heavy weight of metallic catharsis upheld by robust guitars and vocal tension that almost snaps, but never quite… The same could be said of the journey these four musicians underwent to get to their third full-length album, Deceiver . Out of lies, fractured friendships, and broken promises, clarity would be found.

“I’ve known everyone in the band for ten years plus separately and together as DIIV for at least the past five years,” says Cole. “On Deceiver, I’m talking about working for the relationships in my life, repairing them, and accepting responsibility for the places I’ve failed them. I had to re-approach the band. It wasn’t restarting from a clean slate, but it was a new beginning. It took time—as it did with everybody else in my life—but we all grew together and learned how to communicate and collaborate.” A whirlwind brought DIIV there. Amidst turmoil, the group delivered the critical and fan favorite Is the Is Are in 2016 following 2012’s Oshin. Praise came from The Guardian, Spin, and more. NME ranked it in the Top 10 among the “Albums of the Year.” Pitchfork’s audience voted Is the Is Are one of the “Top 50 Albums of 2016” as the outlet dubbed it, “gorgeous.” With total streams for the tracklisting nearing 100 million on Spotify by 2019, “Under the Sun” clocked 19 million with “Dopamine,” “Bent (Roi’s Song),” and “Out of Mind” each passing the 7 million-mark.

In the aftermath of Cole’s personal struggles, he “finally accepted what it means to go through treatment and committed,” emerging with a renewed focus and perspective. Getting back together with the band in Los Angeles would result in a series of firsts. This would be the first time DIIV conceived a record as a band with Colin bringing in demos, writing alongside Cole, and the entire band arranging every tune. “Cole and I approached writing vocal melodies the same way the band approached the instrumentals,” says Colin. “We threw ideas at the wall for months on end, slowly making sense of everything. It was a constant conversation about the parts we liked best versus which of them served the album best.” Another first, DIIV lived with the songs on the road. During a 2018 tour with Deafheaven, they performed eight untitled brand-new compositions as the bulk of the set. The tunes also progressed as the players did.

“We went from playing these songs in the rehearsal space to performing them live at shows, figuring them out in real-time in front of hundreds of people, and approaching them from a broader range of reference points,” he goes on. “We’d never done that before. We got to internalize how everything worked on stage. We did all of the trimming before we went to the studio. It was an exercise in simplifying what makes a song. We really learned how to listen, write, and work as a band.” The vibe got heavier under influences ranging from Unwound and Elliot Smith to True Widow and Neurosis. They also enlisted producer Sonny Diperri . his presence dramatically expanded the sonic palette, making it richer and fuller than ever before. It marks a major step forward for DIIV.

“He brought a lot of common sense and discipline to our process,” adds Cole. “We’d been touring these songs and playing them for a while, so he was able to encourage us to make decisions and own them.” The first single “Skin Game” charges forward with frenetic drums, layered vocals and clean, driven guitars that ricochet off each other. “I’d say it’s an imaginary dialogue between two characters, which could either be myself or people I know,” he says. “I spent six months in several different rehab facilities at the beginning of 2017. I was living with other addicts. Being a recovering addict myself, there are a lot of questions like, ‘Who are we? What is this disease?’ Our last record was about recovery in general, but I truthfully didn’t buy in. I decided to live in my disease instead. ‘Skin Game’ looks at where the pain comes from. I’m looking at the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us.”

A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic “Taker.” According to Cole, it’s “about taking responsibility for your lies, their consequences, and the entire experience.” Meanwhile, the ominous bass line and crawling beat of “Blankenship” devolve into schizophrenic string bends as the vitriolic lyrics. Offering a dynamic denouement, the seven-minute “Acheron” flows through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis. Even after the final strains of distortion ring out on Deceiver, these four musicians will continue to evolve. “We’re still going,” Cole leaves off. “Hopefully we’ll be doing this for a long time.” Ultimately, DIIV’s rebirth is a hard-earned and well-deserved new beginning.

OMNI

Enter Networker, the new album by Omni and first with indie giant Sub Pop Records. Their sound is still defined by sparse drums, locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of “Sincerely Yours” you’ll immediately notice that Networker sounds much cleaner and more “HI-FI” than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements. Don’t worry, the riffs of Gang of Four and Wire are still present, but the production is more lush and the harmony is even more expansive. Despite nods to the sounds of the ’70s and ’80s what comes through is a record fully rooted in the here and now. Thematically, this is apparent on the title track “Networker” taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don’t like what you see, the pretty face on the screen, scroll on by…” 

Networker was written half between tours and half during recording sessions. The band, Philip Frobos on bass/vocals and Frankie Broyles on guitars/drums/keys, returned with longtime collaborator Nathaniel Higgins to the studio in South Georgia where they also recorded Multi-task and most recent single “Delicacy.” In this case, the “studio” is a cabin near Vienna, GA (pronounced Vye-anna) that was built by Frankie Broyles’ great-grandparents in the 1940s. The band completed four sessions between November 2018 and April 2019. Omni hit their stride in the cabin with songs such as “Moat,” which cruises along at a nice mid-tempo clip with sounds that are maybe piano or maybe the “behind the bridge” strings of a Jaguar a la Sonic Youth or This Heat. “Blunt Force” provides a nice contrast to some of the more upbeat cuts, getting jazzy with it’s less traditional arrangement and psychedelic outro.

On “Courtesy Call,” Omni successfully ride the line of being able to pleasantly reference influences without mimicking. They venture into experimental Haruomi Hosono territory while still managing to sound like Thin Lizzy. The same could be applied to “Sincerely Yours” where the fantastic guitar work and a beautiful breakdown in the middle dive into late 70’s jazz production. On standout cut “Present Tense,” Yellow Magic Orchestra vibes are present in the fun synthesizer riff while the guitar counterpoint checks this direction pulling the song back into something fresh, sharp, and definitely Omni.  

Overall, Networker is simultaneously fun, catchy, and contains some truly impressive musicianship. This combo is especially hard to pull off as bands that are great players often don’t have great or memorable songs. Omni and Nathaniel Higgins have done a stellar job of reigning in their diverse influences into a cohesive record by curating their sounds into a tight package that leaves you just on the cusp of understanding where the band is coming from, while still feeling like you’re hearing something totally fresh. While their earlier records had more of a “post-punk” sound, Networker is an amalgamation of the best sounds of the ’70s and ’80s, all arranged with (mostly) guitars, bass, and drums for our contemporary age, and it really works! There are hooks everywhere, vocal and instrumental, that will leave you humming along, even during the first listen. As Philip Frobos says in “Present Tense,” “guess who’s on my mind right now?” Well, Omni’s on mine and will be on yours soon.

DIIV

Rebirth takes place when everything falls apart. DIIV—Zachary Cole Smith , Andrew Bailey , Colin Caulfield , and Ben Newman —craft the soundtrack to personal resurrection under the heavy weight of metallic catharsis upheld by robust guitars and vocal tension that almost snaps, but never quite… The same could be said of the journey these four musicians underwent to get to their third full-length album, Deceiver . Out of lies, fractured friendships, and broken promises, clarity would be found.

“I’ve known everyone in the band for ten years plus separately and together as DIIV for at least the past five years,” says Cole. “On Deceiver, I’m talking about working for the relationships in my life, repairing them, and accepting responsibility for the places I’ve failed them. I had to re-approach the band. It wasn’t restarting from a clean slate, but it was a new beginning. It took time—as it did with everybody else in my life—but we all grew together and learned how to communicate and collaborate.” A whirlwind brought DIIV there. Amidst turmoil, the group delivered the critical and fan favorite Is the Is Are in 2016 following 2012’s Oshin. Praise came from The Guardian, Spin, and more. NME ranked it in the Top 10 among the “Albums of the Year.” Pitchfork’s audience voted Is the Is Are one of the “Top 50 Albums of 2016” as the outlet dubbed it, “gorgeous.” With total streams for the tracklisting nearing 100 million on Spotify by 2019, “Under the Sun” clocked 19 million with “Dopamine,” “Bent (Roi’s Song),” and “Out of Mind” each passing the 7 million-mark.

In the aftermath of Cole’s personal struggles, he “finally accepted what it means to go through treatment and committed,” emerging with a renewed focus and perspective. Getting back together with the band in Los Angeles would result in a series of firsts. This would be the first time DIIV conceived a record as a band with Colin bringing in demos, writing alongside Cole, and the entire band arranging every tune. “Cole and I approached writing vocal melodies the same way the band approached the instrumentals,” says Colin. “We threw ideas at the wall for months on end, slowly making sense of everything. It was a constant conversation about the parts we liked best versus which of them served the album best.” Another first, DIIV lived with the songs on the road. During a 2018 tour with Deafheaven, they performed eight untitled brand-new compositions as the bulk of the set. The tunes also progressed as the players did.

“We went from playing these songs in the rehearsal space to performing them live at shows, figuring them out in real-time in front of hundreds of people, and approaching them from a broader range of reference points,” he goes on. “We’d never done that before. We got to internalize how everything worked on stage. We did all of the trimming before we went to the studio. It was an exercise in simplifying what makes a song. We really learned how to listen, write, and work as a band.” The vibe got heavier under influences ranging from Unwound and Elliot Smith to True Widow and Neurosis. They also enlisted producer Sonny Diperri . his presence dramatically expanded the sonic palette, making it richer and fuller than ever before. It marks a major step forward for DIIV.

“He brought a lot of common sense and discipline to our process,” adds Cole. “We’d been touring these songs and playing them for a while, so he was able to encourage us to make decisions and own them.” The first single “Skin Game” charges forward with frenetic drums, layered vocals and clean, driven guitars that ricochet off each other. “I’d say it’s an imaginary dialogue between two characters, which could either be myself or people I know,” he says. “I spent six months in several different rehab facilities at the beginning of 2017. I was living with other addicts. Being a recovering addict myself, there are a lot of questions like, ‘Who are we? What is this disease?’ Our last record was about recovery in general, but I truthfully didn’t buy in. I decided to live in my disease instead. ‘Skin Game’ looks at where the pain comes from. I’m looking at the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us.”

A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic “Taker.” According to Cole, it’s “about taking responsibility for your lies, their consequences, and the entire experience.” Meanwhile, the ominous bass line and crawling beat of “Blankenship” devolve into schizophrenic string bends as the vitriolic lyrics. Offering a dynamic denouement, the seven-minute “Acheron” flows through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis. Even after the final strains of distortion ring out on Deceiver, these four musicians will continue to evolve. “We’re still going,” Cole leaves off. “Hopefully we’ll be doing this for a long time.” Ultimately, DIIV’s rebirth is a hard-earned and well-deserved new beginning.

OMNI

Enter Networker, the new album by Omni and first with indie giant Sub Pop Records. Their sound is still defined by sparse drums, locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of “Sincerely Yours” you’ll immediately notice that Networker sounds much cleaner and more “HI-FI” than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements. Don’t worry, the riffs of Gang of Four and Wire are still present, but the production is more lush and the harmony is even more expansive. Despite nods to the sounds of the ’70s and ’80s what comes through is a record fully rooted in the here and now. Thematically, this is apparent on the title track “Networker” taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don’t like what you see, the pretty face on the screen, scroll on by…” 

Networker was written half between tours and half during recording sessions. The band, Philip Frobos on bass/vocals and Frankie Broyles on guitars/drums/keys, returned with longtime collaborator Nathaniel Higgins to the studio in South Georgia where they also recorded Multi-task and most recent single “Delicacy.” In this case, the “studio” is a cabin near Vienna, GA (pronounced Vye-anna) that was built by Frankie Broyles’ great-grandparents in the 1940s. The band completed four sessions between November 2018 and April 2019. Omni hit their stride in the cabin with songs such as “Moat,” which cruises along at a nice mid-tempo clip with sounds that are maybe piano or maybe the “behind the bridge” strings of a Jaguar a la Sonic Youth or This Heat. “Blunt Force” provides a nice contrast to some of the more upbeat cuts, getting jazzy with it’s less traditional arrangement and psychedelic outro.

On “Courtesy Call,” Omni successfully ride the line of being able to pleasantly reference influences without mimicking. They venture into experimental Haruomi Hosono territory while still managing to sound like Thin Lizzy. The same could be applied to “Sincerely Yours” where the fantastic guitar work and a beautiful breakdown in the middle dive into late 70’s jazz production. On standout cut “Present Tense,” Yellow Magic Orchestra vibes are present in the fun synthesizer riff while the guitar counterpoint checks this direction pulling the song back into something fresh, sharp, and definitely Omni.  

Overall, Networker is simultaneously fun, catchy, and contains some truly impressive musicianship. This combo is especially hard to pull off as bands that are great players often don’t have great or memorable songs. Omni and Nathaniel Higgins have done a stellar job of reigning in their diverse influences into a cohesive record by curating their sounds into a tight package that leaves you just on the cusp of understanding where the band is coming from, while still feeling like you’re hearing something totally fresh. While their earlier records had more of a “post-punk” sound, Networker is an amalgamation of the best sounds of the ’70s and ’80s, all arranged with (mostly) guitars, bass, and drums for our contemporary age, and it really works! There are hooks everywhere, vocal and instrumental, that will leave you humming along, even during the first listen. As Philip Frobos says in “Present Tense,” “guess who’s on my mind right now?” Well, Omni’s on mine and will be on yours soon.

DIIV & Omni

Details

Start:
December 16, 2019 7:00 pm
End:
December 17, 2019 6:00 am
Website:
https://www.eventbrite.com/e/diiv-omni-lodge-room-highland-park-tickets-75011199517

Organizer

Lodge Room

Venue

Lodge Room Highland Park
104 North Avenue 56
Los Angeles, CA 90042 United States
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